Would you be prepared to give us a list of equipment you own and stuff that you hire a lot? Are there things that you normally take to studios with you? Is there other equipment that you rely on at home? I would also be interested to hear a little bit about each of your favourites.

i remember you ben...how are things? wow, you really came right to the point!

i've never given my equipment list out before and some of my friends are like, "really, you don't want to keep it private"? i must admit it makes me a little nervous. you know, like i'm being exposed or something.
i've thought about though and i don't see anything wrong with showing people what i have. but there might be a piece or two that i've missed...

here's my list of eq/pre's and compressors for now and i'll come back later with the rest.
oh and that's me

That really is a lot of vintage and esoteric gear, even by Gearslutz standards. I notice that at least half of the equipment on the list is tube-based. Do you tend to find a preference for tube-gear? I also notice that in spite of the extensive list of compressors, as far as I'm aware, not a single one of them is VCA-based. That's quite unusual! Anyway, how are you enjoying the Dynax? That is a quite a new compressor, and I don't think there has been much feedback on it here on Gearslutz yet.

Hi Russell, Once again thanks you so much for being here.
My question is regarding the Dynax. I was really lucky to win the Dynax at the last AES convetion by taking part in the Great Gearslutz.com Treasure Hunt. And I love it to death on vocals and bass.
Would you mind sharing what have you use it on?
Thanks again Adrian Morales

hello adrian,

wow, that's great luck winning the dynax...congrats . i hope you're having fun with it like i am. originally, my next post was going to be a list of other cool gear that i use but don't own. and i was going to talk about as new gear that i'm excited about but since the dynax was mentioned in 2 posts back to back, i guess i'll have to go there...

i love the dynax! in my opinion, it's one of the most original designs to come out in a long while. it's a little hard to describe unless you've used one. it's like how the company describes it; a sound shaper...

actually Olivier Bolling, the man who designed this axe, and i are acquainted. we met at "plus xxx" studios in paris when i was mixing keziah's black orpheus. at that time he was the chief tech there and also designed their studios. i shipped some of my gear over for the mixing and olivier recognized some of the pieces i had. he is a big fan of vintage and boutique gear. so we had that connection straight away. he told me he was in the process of designing his own gear and wanted to keep in touch.

he contacted me about a year ago and asked if i was interested in demo'ing a new opto compressor he designed. and he also said that i'm probably going to dig it. so of course i said, "ship it out straight away!". he sent me a prototype and well, i've been using it all the time since i got it. it's one of the most versatile compressors i've ever used. you can use it on just about anything. i get great results on vocals, bass, drums, guitars, you name it. it takes a minute to get used to what it does. in fact i'm still learning little nuances about it.

you can go very subtle or very aggressive with four compression settings. the last setting which he calls "antidyna" is very fun to use indeed. it gives you some extreme limiting where you can achieve reverse cymbal effects very easily, for example. this really rounds out my collection quite nicely. and i really couldn't compare it with any one compressor. this is my latest favorite toy and i tell everyone about. i'm waiting for some of the new things he's designing. he's just finishing up his final tweaks on his mic pre design which should be ready in the next few months. he's got some other things cooking which he just hinted at but didn't go into details. if they're anything like the dynax, then i'm sure they'll have a unique way of processing your sound as well....

Hello everybody,
we own a Dynax here in the studio since it has been released.
There's one thing to say about it : it's AMAAAAAAAAAAAAAZING!!!!!

The compressor is awesome, the Attack/Release controls are excellent and allows a GRRREAT control of "the sound shape"...
The 4 positions on the ratio knob have been carefully chosen to give something really efficient, in relation to what you want.
And it's true, the AntiDyna mode is one of the craziest thing I've seen on a compressor : you could re-create a pattern! As it squeezes the signal, then release it very shortly, the signal tail can be used (in some cases...no abuses!) to create a new effect on it! Very interesting!
Not to mention the Vu-Meter "goodie", this strongly-built machine is excellent.
A new hi-tech piece of gear with a vintage soul.

And when you know Olivier Bolling, you can predict that the next steps will be even greater... I'm talking about the Dynax stereo, but not only...

Sweet list of toys, man. Wanna get specific? I'm sure that you've found that certain pieces of outboard have a particular affinity for certain instruments- for example, my black 1176 loves bass, but the blue stripe is a vocal fiend. Innovonics likes to bring out snare ghost strokes, Chandler TG1 rules on drum rooms, etc.

Would you care to shed some light on what you've found works best in your setup? I'd love to cop some of that insight- specifically, what you use those Altecs for, since I've never gotten them to behave for me!

While I've got you, got any thoughts on vintage gear vs. modern levels? A lot of the tracks I see are loud as hell (individually) and I don't think that the old gear is very happy with the levels way up there on input. Since you're spending a good amount of time on analog, you're probably hitting them at a more normal level, and I wonder if you've noticed a diff.

Hi,
Olivier Bolling sent me a Dynax prototype for an acoustic session few months ago. One of the best design i have ever heard ...This gear has a soul. I love it when it's time to work subtly on well recorded instruments, like vocal, trumpet, double bass. And this new compression setup - AntiDyna - rocks ! The kind of gear that you still discover new sounds everyday.
Great job Olivier.

Thanks for your reply, Russ.
As I'm sure you're already aware, we all really appreciate having you here. I hope our questions are not becoming too tiresome.
That really is a lot of vintage and esoteric gear, even by Gearslutz standards. I notice that at least half of the equipment on the list is tube-based. Do you tend to find a preference for tube-gear? I also notice that in spite of the extensive list of compressors, as far as I'm aware, not a single one of them is VCA-based. That's quite unusual! Best Wishes, Ben.

hello again ben,

thanks man, it's good to be here and Jules has been awesome in the filtering process.
yes i do love tube gear but not neccessarily as a preference. i like the way vintage tube and opto compressors sound and behave. i haven't found (or tried) many vca based compressors that i like. maybe what i favor is a vintage sound and most vca comps are too modern sounding. i don't mainly use compressors to control the level (exceptions again). i go for the actual sound of a particular compressor. and i don't consciously shy away from vca's. i do like the tube tech LCA 2B...heh

Russ-
Sweet list of toys, man. Wanna get specific? I'm sure that you've found that certain pieces of outboard have a particular affinity for certain instruments- for example, my black 1176 loves bass, but the blue stripe is a vocal fiend. Innovonics likes to bring out snare ghost strokes, Chandler TG1 rules on drum rooms, etc.
Would you care to shed some light on what you've found works best in your setup? I'd love to cop some of that insight- specifically, what you use those Altecs for, since I've never gotten them to behave for me!
While I've got you, got any thoughts on vintage gear vs. modern levels? A lot of the tracks I see are loud as hell (individually) and I don't think that the old gear is very happy with the levels way up there on input. Since you're spending a good amount of time on analog, you're probably hitting them at a more normal level, and I wonder if you've noticed a diff.
Appreciate your time and your craft man. Talk to you soon- best, Reid

hello reid,

how's things? hope you're well...
this is a hard question and i could use up an entire page of different scenarios. and as i've said in other post i don't stick to a particular formula. i try different things everyday. and i'll use gear for subtle results as well as maximum results. i like the sound of the signal running through the transformers. all of the gear i favor, i have tried in all combinations and therefore i can make them work for what ever scenario i have. even for an entire album, i won't always have the same compressor for drums on every song even if it's the same kit/micing/drummer. i like variations...
i can give you some quick thoughts however...

the LA2A is s sure shot if you're looking for compression to track through. the have a subtle sound even at high compression. so if your looking to tame some transients in the bass or horns but still want to maintain a natural sound, the la2a at lower threshold settings is awesome.

the la2a, 1176 and 1178 are great for lots of things. i've used them on practically every instrument. vocals, guitars, bass, keys, pianos, drums...you name it. to they're like the work horse of the industry.

i like the altecs on guitars, keys, vocals and drums. you just have to bring the incoming signal down as it's got some crazy gain. but i like the texture of it.

regarding your "levels" question:
yes you're quite right. the levels are way louder than they used to be. i adjust the level trims from the console to get them to a more useable level. what happened to unity gain, right?

and i like the fairman tsc on vocals, strings and drums. but again, its great on a lot of things....heh

gotta love the LA-2A... sounds great on most things. I had a chance to mess w/ the reissue and I thought it was pretty great. You? I was surprised, actually, because I wasn't feeling the 1176 remakes all that much.

When I posted that last post I was being a bonehead and assuming the application was mixing, not recording (it's been a while since I've recorded anything), so if that changes anything, feel free to go there. If you're changing gear on every song you mix, I feel sorry for your assistant. How do you handle recalls? Especially all this old stuff- it wears us out sometimes, the amount that it changes, even from the beginning of an album mix to the end.

thanks Russ, things are well, hope they're equally well for you.
gotta love the LA-2A... sounds great on most things. I had a chance to mess w/ the reissue and I thought it was pretty great. You? I was surprised, actually, because I wasn't feeling the 1176 remakes all that much.
When I posted that last post I was being a bonehead and assuming the application was mixing, not recording (it's been a while since I've recorded anything), so if that changes anything, feel free to go there. If you're changing gear on every song you mix, I feel sorry for your assistant. How do you handle recalls? Especially all this old stuff- it wears us out sometimes, the amount that it changes, even from the beginning of an album mix to the end.

hello reid,

no you're right, i was mostly talking about mixing. i do change it up quite a bit. i could use any piece i have and make it work on most things. this keeps me fresh on a project. i've always been on that mind set. my assistants are awesome and they develop a system when they work with me. and all my racks are on DL's and they come right up on the patchbay.
i will print the really intricate effects that i know won't be recallable. and they WILL remind me to print. i don't patch up a bunch of things and have them ready to go. eg: i wont patch up ALL my pedals and bring them up on faders. i'll only patch when i need it. most of the time these days i'm printing the effect and then using the printed track in the mix and i can unplug the effect after that or use it again for something else. this will also make recalls a little more accurate.
speaking of recalls... i'll be venting about it soon.

hey Russel,
I love to see the big pile of guitar-pedals on your list.
I think they can often sound cooler and more inspiring than cheap fx-boxes and plugins...just toyed around with some of the moog-pedals and really was amazed!

I´d like to know how you have them set-up/integrated...
does your patchbay have some kind of re-amp circuits?
which D.I.´s do you use back into the board?
do you notice big differences (setup/re-amping-wise) between different pedals, or did you modify them for line-use?

hey Russel,
I love to see the big pile of guitar-pedals on your list.
I think they can often sound cooler and more inspiring than cheap fx-boxes and plugins...just toyed around with some of the moog-pedals and really was amazed! I´d like to know how you have them set-up/integrated...
does your patchbay have some kind of re-amp circuits?
which D.I.´s do you use back into the board?
do you notice big differences (setup/re-amping-wise) between different pedals, or did you modify them for line-use?
Thanx a lot and keep the great work up thumbsup Tom

hello tom,

thanks man heh. i use the radial x-amp and JD48 (DI) for my pedals. to me the radial stuff is top notch and the best i've heard so far. each pedal does have it's own gain structure so to speak. but i use the xamp going in and the jd48 on the output. the SSL 9K does have a hi Z input which i use sometime as well. also some of my eq/pre's have passive DI inputs built in. i also like the demeter tube DI's. and i love all the mooger pedals .

hey Russel,
I love to see the big pile of guitar-pedals on your list.
I think they can often sound cooler and more inspiring than cheap fx-boxes and plugins...just toyed around with some of the moog-pedals and really was amazed!

I´d like to know how you have them set-up/integrated...
does your patchbay have some kind of re-amp circuits?
which D.I.´s do you use back into the board?
do you notice big differences (setup/re-amping-wise) between different pedals, or did you modify them for line-use?

Thanx a lot and keep the great work up thumbsup

Tom

i really felt in love with the moogerfooger MF-101 Lowpass! very nice toy!

(Jules- feel free to make this a new thread if thats more appropriate- Thanks for all your help with this Q&A ! )

Russell,

I'm very curious about what analog delays you used for Roy Hargrove's trumpet, there are a couple that really stick out in my mind.

The first is the second track on Hard Groove, at the very end, stereo delays.

The second is on the first track of strength, during Roy's solo. Was this done in real time, or after the fact? It seems like he plays off the delays, but that could just be your artful mastery. Gorgeous either way!

I'd love to know which delays you used, and in what way. ( do you bring them back on a fader and ride for particular phrases, notes? ) Thanks again for taking so much time to answer everyone's questions, I've found this all very inspiring.

Thanks for all your help with this Q&A ! )
Russell,
I'm very curious about what analog delays you used for Roy Hargrove's trumpet, there are a couple that really stick out in my mind.
The first is the second track on Hard Groove, at the very end, stereo delays.
The second is on the first track of strength, during Roy's solo. Was this done in real time, or after the fact? It seems like he plays off the delays, but that could just be your artful mastery. Gorgeous either way!
I'd love to know which delays you used, and in what way. (do you bring them back on a fader and ride for particular phrases, notes?) Thanks again for taking so much time to answer everyone's questions, I've found this all very inspiring. -Ryan Miller

hello ryan,

thanks for comps heh!
for delays i use pcm 42's, pcm 41's, maestro tube echoplex, and fulltone tube tape echo. the tape echo's can't do long delays in which case i'll turn to the pcm units. for "common freestyle" on "hardgroove", that's just one delay and i panned it from L to R. for 'rich mans welfare" on "strength" i put the delays on in the mix and just timed it that way.

yes for about 90% of effects i use, i do bring them up on faders and often ride them in places or turn them on and off. i treat delays like they're another instrument. they have to be seamless in the mix and as i've said before, they shouldn't sound like a gimmick, it should sound like they belong there.